Review by Anne Mackie

An
incredible 45 years on, Jesus Christ Superstar is still
arguably Andrew Lloyd Webber and Tim Rice’s finest
theatrical collaboration. With a
magnificent musical score that seamlessly focusses on
the final days in Jesus’ life, the 2015 UK tour is
as timeless as ever, although some would argue this
particular revival appears somewhat dated in its production values.

Leading the
production and reprising his role of Jesus, Glenn Carter gave a
stellar performance, proving every inch the ‘superstar’ he once
was (and still is). Carter’s performance was pitch perfect and
utterly believable on every level. His interpretation of
‘Gethsemane’ proved an obvious highlight; however it was
his commitment and tangible emotion during the ‘Crucifixion’ that set
him aside from the other principal cast. It must also be noted that
despite the authentic sincerity of this number, the scene felt
somewhat protracted and as such, could have feasibly been cut by at
least three minutes.

The
unfortunate let down was X-Factor’s Rachel Adedeji in the role
of Mary Magdalene. Adedeji showed very little passion or
emotion throughout the production and supported vocals
that were both weak and underwhelming. Her rendition of ‘I
Don’t Know How To Love Him’ should have been a show-stopping high
point, but instead, appeared feeble and uncommitted.

‘Celebrity’ X-Factor
casting seemed a continual theme in Kenwright’s production
as 2007 finalist Rhydian Roberts was credited to
appear as Pontius Pilate. However, due to the indisposition of Roberts,
understudy Johnathon Tweedie performed the
role, giving a memorably dramatic, strong and thoroughly
understated performance. Of course, this begs but one question: why are
today’s Producers so reliant on employing several ‘star casting’ vehicles?

Regrettably,
it would appear that illness had also taken its toll on Tim Rogers as
Judas Iscariot whose vocal range seemed strained and
lacking as he failed to hit some of the big money notes – most
notably in the show’s opening number ‘Heaven on their Minds’. An
anticlimax for anyone well acquainted with
the original score. Roger’s characterisation, however,
was much more equipped but this was undoubtedly overshadowed
by his over-stretched vocal. An understudy option might
have proved a more favorable decision here.

The
ensemble cast was small but perfectly formed, executing Carole’s
Todd’s simple yet effective choreography in conjunction with an array of
strong harmony singing superbly. Credit must also go to Cavin Cornwall
and Alistair Lee who provided excellent
support as Priests Ciaphas and Annas, while
Tom Gilling added a brief comedic touch as the
campest King Herod ever seen on stage.

Aesthetically,
the production is most pleasing. Designer Paul Farnsworth’s magnificent carved
temple set provides a dark and enigmatic playground for the action to
unfold, particularly under the giant crown of thorns,
which impends at the centre of the proscenium arch -
a symbolic reminder of Jesus’s journey from the start.
However, it is the atmospheric lighting design by
Nick Richings that truly sets the scene, capturing the
emotional complexity of the production and propelling it
through to that illustrious moment of climax.

This
production wasn’t without it’s ‘trials and tribulations’ (as the song
so poetically goes) but overall, this touring revival is
both impassioned and
conventional, deliberately avoiding the modernity that
the preceding arena tour opted for. As such, it brings a more
traditional looking production (working in favour of the
narrative) which, when juxtaposed against Lloyd Webber’s iconic rock
opera score provides a powerful evening of rich musicality.